“The Art of Self Defence” (1909)

  • Originally published on the Bartitsu.org site on Sunday, 18th March 2018

The following article by N. Tegan Lewis was originally published in the Women’s Freedom League newspaper of April 22, 1909, following the jiujitsu self-defence displays by Edith Garrud at London’s Caxton Hall (shown above).

We’ve offered a few contextual annotations, which are shown in italics.

A novel feature of the Green, White and Gold Fair, at Caxton Hall, was the jiu-jitsu displays given by women. Apart from the fact that it is splendid physical exercise, jiu-jitsu is the most suitable form of self-defence for women, success depending on the dexterous use of the opponent’s strength. The science has three branches: the throws, which require much practice; the art of self-defence exclusively, by which all attacks by violence may be resisted; and the art, when the opponent has been thrown, of wrestling on the ground and rendering him unconscious by neck locks and other means. Happily, measures so stringent as those taught in this third branch are not often necessary, but in an encounter with a desperate burglar or an escaped lunatic the knowledge would be decidedly useful.

Emily Watts, another pioneering jiujitsu instructor of this era, largely dismissed ne-waza (mat grappling) in her 1906 manual The Fine Art of Jujutsu, on grounds of sensibility rather than practicality.

In the course of the last quarter of a century women in this country have developed physically, as mentally, in an amazing way while men have been—well, let us say—at a standstill. The modern healthy girl, backed by a knowledge of some scientific art of defence, could render a very good account of herself when necessary and men “Anti’s” who are so fond of the physical force “argument” would do well to take heed in time lest the day come, and perhaps it is not far distant, when they will not be allowed to let the matter drop.

“Anti’s” refers to those who were against the movement towards women’s suffrage.  The fallacious “argument of physical force” essentially stated that women should not be given political power on the grounds that such power ultimately resolves into the ability to exert physical force.

We are all familiar with Mr. Punch’s famous advice to those about to marry, but, though Mr. Punch “were like to die of it,” we have not yet heard Mrs. Punch’s opinion on the matter. May we suggest, with all due deference to Mr. Punch, that her advice to the girl would be “learn jiu-jitsu”?

During the Edwardian period, the Punch and Judy puppet show preserved Mr. Punch’s ferocious violence against virtually all the other characters, including his wife Judy.

Such a precaution would be, let us hope in the majority of cases, merely a matter of form. At the same time it is idle to ignore the fact that there are men, in all classes of society, who habitually ill-treat their wives. At present the usual advice given to the ill-used wife, when circumstances render it practically impossible for her to leave her husband, is “do not lower yourself by retaliation, at all costs uphold your womanly dignity.” Setting aside the utter impossibility of being dignified under such circumstances this advice is, theoretically, perfectly sound. Practically jiu-jitsu is likely to prove far more effective for it is universally acknowledged that your bully is usually a coward.

The theme of jiujitsu as self-defence against an abusive husband provided the basis of the polemic playlet What Every Woman Ought to Know (1911), which included a spectacular fight scene staged by Edith Garrud.

It has long been the custom to consider women more timid than men, but one has only to scan the newspapers day by day to realize that in cases of great emergency—such as the Messina earthquake—women are every whit as brave as men; and hardly a week goes by but some woman goes to the assistance of the police in a street brawl while a crowd of men—citizens stand idly by, indifferent or amused, oblivious of any responsibility. Moreover, in the days when entrance to the army was an easy affair, many women fought side by side with the men and many instances are on record of women taking part in sea fights. There was Hannah Snell, who enlisted as a marine and saw active service, and Mary Ann Talbot, otherwise John Taylor, who was wounded in the action of the Glorious First of June, both of whom received pensions from a grateful Government. Anne Bonney and Mary Read, after serving in the Navy, turned pirates—to their own profit, doubtless, if not to that of the State.

Public opinion has hitherto been the greatest enemy to the physical development of women; the pioneer women cyclists were covered with scorn, the girls who first declared their preference for hockey over croquet were looked at askance as hoydens. Happily the world soon gets accustomed to new ideas, and to-day the girl who cycles and the girl who plays hockey are taken very much as a matter of course—just as will be the girl of to-morrow who practises jiu-jitsu. In a few years time let us hope that the woman who is not versed in the art of self-defence will be regarded, and rightly regarded, as an anomaly.

Edith Garrud’s demonstrations did, in fact, spark a wide interest in women’s jiujitsu, including a fad for “jiujitsu parties”.  Mrs. Garrud also established an exclusive “Suffragettes Self-Defence Club” and, several years thereafter, became the jiujitsu instructor for the secret Bodyguard Society of the Women’s Social and Political Union.

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“Stick Fighting in Trinidad” (Diss Express – 14 March, 1919)

  • Originally published on the Bartitsu.org site on Sunday, 18th March 2018
Above: lithograph of Dominican stick fighting painted by Agostino Brunias; engraved print published London (1779).

The following short article is notable for its reference to the Trinidadian stick fighting style of “playing bois”, which is closely cognate to the Grenadian bois stick style that was amalgamated with Pierre Vigny’s art of self defence with a walking stick by H.G. Lang during the early 1920s.  Although Grenadian bois seems to have evolved into a ceremonial dance, similar stick fighting sports can still be found throughout the Caribbean island chain.

Single combat in various forms survives all over the world, and different peoples have different methods of showing their prowess. In the island of Trinidad, for instance, the natives, who speak mixture of French patois and English, call their method “playing bois” (literally stick-fighting).

The stick used is about a yard long and usually made from the “puie” tree, a very hard wood. This is held at each end diagonally in front of the body, and the blow’s are struck releasing one hand and striking with either the left or the right. the carnival season bands from the various districts are made and contests take place whenever two bands meet.

The stick-men are extraordinarily clever at parrying blows, and an expert will stop a cricket ball thrown at him.

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“A Ju-jitsu Festival in Kyoto, Japan” (1909)

  • Originally published on the Bartitsu.org site on Tuesday, 27th March 2018

Sketch artist Tom Brown recorded his impressions of a “ju-jitsu festival” taking place in Kyoto for the Illustrated Sporting and Dramatic News of November 13, 1909.  He noted that he admired the wrestling itself and also the  formal courtesies offered by the competitors before and after each contest, which were “almost as elaborate as a fencing match”.

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Jujitsu at Glen Parva Barracks (1905)

  • Originally published on the Bartitsu.org site on Saturday, 14th April 2018

Although he had been brought to London to partner Yukio Tani in teaching and demonstrating Japanese unarmed combat via the Bartitsu Club, Sadakazu “Raku” Uyenishi went his own way after the club closed during early 1902. While Tani went on to great success as a music hall wrestler, Uyenishi established the successful Golden Square School of Jujitsu. As described in this article from the Leicester Daily Post of December 9th, 1905, Uyenishi also gave a number of exhibitions for the armed services.

Noting as usual that the term “Jap” did not carry any negative connotation in Edwardian English, being directly equivalent to the abbreviation “Brit” for British.

Professor Uyenishi, of London, and Mr. Nelson, a promising pupil, gave fine display of the Japanese national art at Glen Parva barracks on Thursday evening. The first portion consisted of throws and self-defence tricks, with some of the wonderful locks which are used in the above. The trips by ankle and knee were given with marvelous dexterity, but undoubtedly the most wonderful tricks of this kind were achieved with the cross hock and cross thigh, when the defeated wrestler found himself performing a neat “cartwheel.”

The Professor also gave a fine exhibition of self-defence tricks, showing how a small man, or woman, may easily defeat a burly opponent, although taken at a serious disadvantage by being attacked from behind. Then followed a lesson for the pupil, who, despite his frantic endeavours to keep his feet, soon found that he had had enough.

The final part of the display was between the Professor and Sergt. Jones, of the gymnastic staff of the depot, who came to the front on the Professor’s call for a volunteer The sergeant made a determined effort to keep feet and, if possible, throw the clever little Jap, but ultimately had to give the signal of defeat, after a good struggle. This concluded the performance, no other candidate coming forward to try conclusions with the professor, who, needless to say, had delighted the audience.

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Sergeant George Wheeldon’s Police Self-Defence (circa 1905)

  • Originally published on the Bartitsu.org site on Tuesday, 17th April 2018

The City of London police history blog Plodd in the Square Mile offers this short but informative article on Sergeant George Wheeldon, who essentially pioneered the systematic practice of unarmed self-defence within the English police force.

Sergeant Wheeldon had been in the audience during some of E.W. Barton-Wright’s first Bartitsu displays, including the original Tivoli Theatre displays by Yukio Tani and Sadakazu Uyenishi.  He was also a prominent correspondent in the great “Jujitsu vs. Boxing and Wrestling” debates that raged via letters to the editors of various sporting journals during 1905-7. In a letter to Health and Strength Magazine, Wheeldon evinced some skepticism about jiujitsu, more in terms of its actual novelty than its evident practicality:

Regarding a number of these holds, I can safely assert that I knew a great many of them long before Ju-ju-tsu came to this country, having studied anatomy for many years, and always having a hankering for tricks of self defence. I learnt a good many through the above study.

He went on to note that the jiujitsu “scissor hold” (dojime) was not unique to Japanese unarmed combat, having been illustrated in a book on catch-as-catch-can wrestling dating to the 1820s.  Another participant in the same debate referred to a different hold or takedown which was widely known among English poachers.

Although he may have been overstating his case a little for effect, and possibly out of nationalistic sentiment, Sergeant Wheeldon’s own course in self-defence was itself an eclectic blend of Japanese and English grappling techniques.  It probably represents the first attempt to systematise a method of unarmed self-defence and restraint training for a professional police force.

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In Memoriam: Master-at-Arms John Waller

  • Originally published on the Bartitsu.org site on Sunday, 22nd April 2018

The international historical European martial arts and stage combat communities mourn the recent passing of John Waller, who was a modern pioneer in both fields.

Possessed of a life-long fascination with arms and armour, Mr. Waller founded the Medieval Society in 1963 and, a few years later, he also became a founding member of the Society of British Fight Directors. His long association with the Royal Armouries Museum likewise began during the late 1960s, when he owned an antiques and archery shop adjacent to the Museum, which was then housed in the Tower of London.

As a stage combat instructor, John Waller was responsible for training generations of young actors via the Guildhall School of Music and Drama, the London Academy of Music and Dramatic Art, Arts Educational School and the Drama Studio.

During the 1970s and ’80s he was involved in the production of a number of educational videos by and for the Royal Armouries, notably including Masters of Defence which was among the first videos to present historical European fighting styles as martial arts in their own right. He also served as the fight director for numerous plays, films, TV series and commercials.

When the Royal Armouries moved from the Tower of London to its new, purpose built facility in Leeds during the early 1990s, Mr. Waller also relocated and went on to become the Museum’s Director of Interpretation, training the fight demonstration team in the performance of numerous historical combat styles. In 2002 the R.A. Museum became the site of the first public Bartitsu demonstrations in a century, based on the then-recently republished “Self-Defence With a Walking Stick” articles by E.W. Barton-Wright.

Above: Royal Armouries Fight Interpreters Keith Ducklin (left) and Rob Temple demonstrate Bartitsu stick fighting.

Mr. Waller was proud to have met the Queen when she visited the Royal Armouries on three occasions. He retired in 2006 but continued to serve as a consultant for the Museum and, in 2009, was featured in the HEMA documentary Reclaiming the Blade.

Our condolences to Mr. Waller’s friends and family at this difficult time.

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Arturo Bonafont’s 1930 Cane Defence Book Now Translated and Available!

  • Originally published on the Bartitsu.org site on Tuesday, 24th April 2018
Above; the characteristic “inverted grip” of the Bonafont cane defence style, applied to a disarming strike.

The first decades of the 20th century saw a marked shift in approaches to the use of the walking stick as a weapon of self-defence. Whereas cane manuals had appeared intermittently during the preceding era, they tended to be closely based on sabre fencing and, indeed, to treat the stick as a substitute sabre. Innovators, notably including Bartitsu Club stick fighting instructor Pierre Vigny, observed the flaws in that approach and developed more diverse and sophisticated methods of their own, geared less towards the conditions of gentlemanly stick play in the salle d’armes and more towards the unpredictable, high-stakes circumstances of street fighting.

Vigny’s method was promulgated beyond his personal reach via E.W. Barton-Wright’s famous 1901 article series for Pearson’s Magazine and then by Police Superintendant H.G. Lang’s 1923 book The Walking Stick Method of Self-Defence. During the intervening period, several other authors produced their own works on the subject, including Andrew Chase Cunningham, whose 1912 book The Cane as a Weapon was a uniquely American entry into the canon of early 20th century stick fighting manuals.

Possibly the last, but by no means the least interesting nor valuable, was Nuevos Modos de Defenderse en la Calle con un Baston (New Methods of Street Self Defence with a Cane), which was published in Buenos Aires, Argentina during the year 1930. Author Arturo Bonafont was clearly an experienced instructor and, like Vigny and Cunningham before him, his idiosyncratic method represented a departure from the orthodoxy of sabre-based stick fighting.  Reading between the lines a little, it seems that his intended audience may have been young “swells” on slumming excursions in and around the brothels of the Argentinian capital.

The Bonafont method relies on a simple and flexible strategy based on two primary grips of the cane. One, for use at closer quarters, is the double-handed grip familiar to Bartitsu enthusiasts as the “bayonette”, while the other is a single-handed “inverted” grip; a position almost unique to Bonafont’s system. From these two primary grips, the system encompasses a comprehensive arsenal of jabs with both the steel ball “pommel” and the ferrule as well as slashing strikes delivered to the opponent’s most vulnerable targets.

Original copies of the Bonafont manual are extremely rare and it’s international appeal has been limited by the fact that it was written in Spanish. Now, however, an excellent English translation has been made available by Darrin Cook of the BigStickCombat.com website.

The new translated ebook edition covers the entire system in exacting detail and is available for only US$3.00 from Amazon.com.

The only criticism that might be made is that, while the new edition faithfully preserves the picture/text placement of the original book, that inevitably means that it’s often necessary to flip back and forth between pages to check Bonafont’s instructional photographs against his text.

That very minor quibble aside, Mr. Cook’s translation will, hopefully, help lead to an international revival of the Bonafont cane system comparable to that of the Vigny method, Irish bataireacht and other styles.

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“Bartitsu in the American Context”

  • Originally published on the Bartitsu.org site on Tuesday, 24th April 2018

The excellent Kung Fu Tea blog offers this well-researched post towards answering a question posed by Dr. Emelyne Godfrey in reviewing Wendy Rouse’s book Her Own Hero: The Origins of the Women’s Self Defense Movement. Specifically, how was E. W. Barton-Wright’s eclectic art of Bartitsu received in the United States?

Although E.W. Barton-Wright’s seminal Bartitsu articles were published in the US editions of Pearson’s Magazine, further references to Bartitsu in the American media were scattershot and Barton-Wright’s martial art certainly didn’t impact US popular culture to anything like the extent that it did in the UK. Likewise, although Barton-Wright mentioned a plan to tour his system through the United States, that never came to pass. The closest thing to an “American Bartitsu” during the early 20th century was probably the mysterious Latson System of Self Defense, of which there are few records other than a short series of articles that were probably written by the ill-fated Dr. Latson himself, but published posthumously.

It can be argued, though, that Barton-Wright’s articles did newly popularise illustrated self-defence features in newspapers and magazines, which had previously been rare but which became quite common during the first decade of the 1900s.

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“Wrestlers in Court: Labourer who Wanted to Use his Fists” (1905)

  • Originally published on the Bartitsu.org site on Saturday, 28th April 2018
Yukio Tani (right) circa 1903.

This article from the  Leicester Daily Post of October 7, 1905, details a court case involving former Bartitsu Club instructor Yukio Tani.  Partly at issue was the practice of pre-arranging the results of apparently spontaneous challenge matches, which was known in Edwardian-era wrestling slang as “swanking” – i.e., contrived showmanship rather than “straight” or “shoot” competition.   

Yukio Tani, the famous exponent of jiu-jitsu methods of wrestling, and John Madden, a tall, lean Bermondsey labourer, met as opponents on Thursday; not on the mat and in the full glare of the footlights, but in the Westminster County Court, before Judge Woodfall.

The trouble centred round an unrehearsed incident in June at the Lyceum, when Madden, a labourer at Tower Bridge Wharf, challenged Tani. The Bermondsey man said that after the wrestling bout, in which he was thrown, the Jap severely mauled him outside the dressing-room.  He claimed £8 for physical pain, incapacitation from work through injured legs, and damage to his trousers, which he now brought with him to show the judge.

Madden was cross-examined by Mr. Whiteley, on behalf of Tani.

“You are one of those men who are always coming forward with challenges?” Mr. Whiteley asked.

“Provided I am paid for it,” was the answer.

“Is it not always an arrangement that you shall be thrown in a certain way?”

“Yes.”

“Of course you know you are going to be thrown?”

“Oh, yes.”

“Is it not a fact that you asked Tani to give you a seven minutes’ show, so as to make a good display?”

“I never asked him at all. It’s like this. I am supposed to be one of those who makes the best show, and excites the audience. There is a ‘dud’ – he gets thrown in two minutes. When I tapped the floor three times he (Tani) was to release me.  He put the lock on me in five minutes. I resisted, and got away; and then when I tapped the floor three times he would not leave off. He put pressure on me and hurt me. I had to shout; and when he did let go I wanted to have it out in my own style.”

“You offered to fight him on the stage with your fists?”

“Yes.”

William Bankier, known as Apollo, the strong man, said that Madden came to the stage-door, said he was hard up, and asked to be showed to try what he could do against Tani. Seeing one of his friends in the front row, and being anxious to impress him, Madden asked to be allowed to stand against the Jap for eight or nine minutes. Four or five minutes was all Tani took to throw his opponents and he would not allow any man to play about longer than necessary.

As timekeeper, Apollo saw that Tani had got Madden fixed in about four minutes, and seeing that the Bermondsey man would not accept the inevitable and that there was a likelihood of his getting hurt, the wrestle was stopped. Madden was very angry at the abrupt end of the bout and struck Tani on the side of the head. Afterwards they were induced to shake hands before the audience, but on leaving the stage Madden called Tani all sorts of names, including “a Japanese swindler” … and Tani, rushing out from his dressing-room, got Madden on the floor in quick time.

Without calling Tani, Judge Woodfall said that the plaintiff had evidently invited all he got, and there would be judgment for the defendant, each side to pay his own costs.

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The Bonafont Cane Style in Action

  • Originally published on the Bartitsu.org site on Tuesday, 1st May 2018

The prolific and talented Andres Morales of Chile demonstrates the Bonafont cane fighting style of 1920s and ’30s Argentina.

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